The requested URL was not found on this server there are many wild animals to be found in restaurants during the winter season a number of restaurants jump at the chance to feature game dishes on their menus and some even unveil menus entirely dedicated to the hunt At a time when the practice of hunting is increasingly the subject of debate in France these chefs advocate a rational approach to hunting far removed from the clichés of bloodthirsty follow our guide to game restaurants in Paris Origines, chef Julien Boscus's excellent first restaurantWith the opening of his first Origines restaurant in Paris, chef Julien Boscus once again proves to gourmets the full extent of his talent in the kitchen. [Read more] Le Procope: rediscover Paris' oldest caféDo you know Procope, the oldest Café in Paris? It's undoubtedly one of the capital's finest restaurants, listed as a Monument Historique. We'll take you through its history, its menu and what's new to discover. [Read more] Refer your establishment, click herePromote your event, click here This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page He was an avant-garde musician who demolished the conventions of his day his music exploding past the bar lines and their regulation of rhythm Berlioz should sound like a dazzling mad man The Orchestre Révolutionnaire et Romantique brought an all-Berlioz program into Carnegie Hall Sunday afternoon and joined by mezzo-soprano Lucille Richardot and violist Antoine Tamestit the orchestra played with tremendous energy and a sense of freedom that came out of an expressive joy in every note The program was a mix of well-known and rarely heard masterpieces the posthumous student work La mort de Cléopatre That was embedded amid the Le Corsaire Overture music from two scenes of the opera Les Troyens and the unique hybrid viola concerto-symphony Harold en Italie primitive clarinets… and sax horns and ophicleides Those are merely two indications of Berlioz’s marvelous orchestration full of colors and textures mixed together in myriad shades The sensual pleasure of his music and the unnerving forms and expressions—full of unexpected phases and modulations—are a sonic equivalent to the paintings of Renoir and Van Gogh Sir John Eliot Gardiner conducted Orchestra Revolutionnaire et Romantique Sunday in Carnegie Hall No group expresses this sound like the ORR and no composer is as well served by period instruments as Berlioz Add to this the musicians’ approach to playing—all but the basses and cellos standing for Le Corsaire and for the entirety of the concluding “Orgie de brigands” movement of Harold en Italie—and the result was one spectacular moment after the next the music rushing forward like kids stampeding from school on their last day and there were a few messy moments yet even those sounded apt—if there wasn’t a mess of instruments tumbling over one another somehow it would not have been Berlioz in sound and spirit The high point of the first half was the “Chasse royale et orage,” from Part II of the mammoth Les Troyens Full productions of the opera are a rarity and performances of any of the music are uncommon There are the antiphonal hunting horns that play something close to a freely improvised ballad—Sunday this was played with captivating warmth and beauty by a quartet of saxhornists And then there is the chase itself—the orchestra hurtling along tumultuously when the cellists literally sing out a hunting call as they play their instruments Richardot sang Dido’s aria “Je vais mourir,” her lament for herself and her lost city As this aria is a shining example of Berlioz’s exquisite vocal writing with ravishing melodies and superb emphasis on the text that made for a lovely and affecting performance There was a forensic pleasure in this—the piece is not a part of Berlioz’s professional catalogue but it is an important part of his personal story Berlioz submitted it for the 1829 Prix de Rome but its radicalism shocked the judges and no prize was awarded that year one can hear quasi- inchoate avant-garde ideas straining against formal structures he had yet to abandon the harmonies are set by stabbing gestures in the strings Richardot sounded wonderful when the music dipped low she had a luminous darkness in that part of her range but the writing also tended to go too high for a mezzo voice something that the student had yet to learn where he found a kind of blissful peace and the inspiration for the peregrinations of Harold in Italie with the protagonist wandering the country discovering delightful vistas and people in turn Gardiner added some simple yet creative staging touches The solo violist Tamestit entered from an outside corridor through a side door There he occasionally adopted a heroic pose timed to the music and strolled around and through the orchestra This physical parallel to the musical journey was amazingly effective not the least because of Tamestit’s poise and savoire-faire matched only by the great beauty of his sound and the great elegance of his playing and his modulations of dynamics were as good as one will ever hear For the first movement he nearly danced around the harpist hoping to see the source of the music he was hearing (from the basses) And so Harold became a real theatrical narrative Gardiner and the soloists returned for an encore— a gorgeous and expressive performance of Marguerite’s “The King of Thule” from Huit Scènes de Faust The Orchestre Révolutionnaire et Romantique plays Berlioz’s Symphonie fantastique and Lelio Monday, 8 p.m. at Carnegie Hall. carnegiehall.org Posted Oct 17, 2018 at 1:27 am by Susan Scheid your dazzler of a review captures this concert brilliantly Posted Oct 20, 2018 at 7:00 am by Joel XHTML: You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong> Δdocument.getElementById( "ak_js_1" ).setAttribute( "value"  Subscribe via RSS Lise Akoka completed a university course in Psychology and a professional training in acting in casting and coaching children for the cinema a way of bringing together her two interests Romane and Lise met during the casting of a feature film they co-directed the short film Chasse Royale awarded in several festivals and which won the Illy Prize at Cannes Directors’ Fortnight in 2016 The film was nominated a year later at the César for Best Short film they co-directed the documentary Allez garçon is broadcast on Arte and then selected at the Sundance Festival shot in Boulogne-sur-Mer and selected at Un Certain Regard at the 2022 Cannes Film Festival We use cookies to give you the best experience on our website to analyze traffic and to personalize content and advertisements You can obtain more information about the cookies we use or deactivate them NOUCINEMART SLU uses cookies to personalize content and advertisements provide social media functions and analyze our web traffic We also share information about how our site is used with our social media who may combine it with other information that you have provided to them or that they have collected from use of their services Make a website useful by enabling basic functions such as page navigation and access in secure areas of the website You help website owners understand how visitors interact with websites by collecting and information anonymously Please enable Essential or necessary Cookies first so that we can save your preferences With people increasingly relying on streaming services, here are three French short films that are available for streaming via YouTube. These short films are from MyFrenchFilmFestival.com which was organized by the esteemed UNI France which is France’s national agency devoted to the cause of giving French cinema global exposure La virée à Paname (2013) is directed by Carine May and Hakim Zouhani a student of drama as well as an aspiring writer who is around the age of twenty and is the center of attention throughout this short alongside the jewel of France The film revolves around the bewildering mindscape of Mourad who is torn between multiple worlds as someone belonging to an ethnically diverse French background He endeavors to become a good writer and for this reason plans to attend a writing workshop but how his plan will turn out to be and how far-reaching will be the implications remain the most pivotal aspect of the film Mourad is ambitious at best and at his age there shall be no one handing him a penalty for being so I felt like drawing parallels between his and my life primarily because of the numerous amounts of distractions I also tend to encounter regularly from my surroundings whenever I try to ponder and eventually get excited in my very own Eureka moments Chasse Royale (2016) is directed by Romane Gueret and Lise Akoka The film stars Angélique Gernez in a leading role as Angélique her aura and appearance in the film give one a clear impression of the kind of savage soul she has in her possession Though the film has its focus on the audition call she gets for a film the fate of Angélique’s potential role in the film for which she auditions remains the focal point partially owing to the excitement and curiosity her siblings propagate about it The film does its best to give a reality check to a naïve étranger on how France is not just about the Eiffel Tower or the Louvre but there are multiple diverse worlds present beyond these magnificent landmarks within the same country which deserve the due attention of an étranger and étrangère alike The film duly plays its part in making the characters and the plot as familiar as possible to a global audience as much familiar to a youngster from some notorious banlieue of Paris as that to a shantytown dweller in Sao Paulo The film dares to give us an insight into a France that is living and breathing at a normal pace beyond the popular French notions of grandeur and douceur de vivre with which all the best European and American literature has been afloat with over the centuries or some Indian or Nigerian friends of mine who can also somewhat relate to Judith Hôtel (2018) is directed by Charlotte Le Bon and stars Jean-Baptiste Sagory in the leading role of Rémi (an insomniac who yearns for a sleep that may last forever) The Judith Hotel claims to offer the solution to the ailment of Rémi but the hotel is not of an ordinary kind and is indeed very bizarre with guests and hosts who are unparalleled in their outlandishness The hotel doesn’t look like the kind of place one would go for getting rid of insomnia as it seems that at such a place any such effort would backfire very savagely But kudos to Rémi for daring to enter the premises of a strange world and for becoming one of its strange inhabitants The film keeps you engaged till the end though with at least two different bouts of questions that do get raised in mind about the hotel and Rémi’s survival within it We are using cookies to give you the best experience on our website You can find out more about which cookies we are using or switch them off in settings This website uses cookies so that we can provide you with the best user experience possible Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings we will not be able to save your preferences This means that every time you visit this website you will need to enable or disable cookies again More information about our Cookie Policy acknowledging its unique blend and interplay of acknowledged fiction with a quasi-documentary style The basic premise of The Worst Ones involves a film crew led by the central character Gabriel a well-known Belgian director (Johan Heldenbergh) They are doing open casting of amateur children and teens in a community in northern France then shooting the film in the same community resulting in resentment among the locals when the chosen actors turn out to be mainly young people from a low-income housing project The title derives from the neighbourhood’s objections to the film choosing “the worst ones” from the community population rather than more respectable representatives The filmmakers note that this reaction was based directly on their own experiences when making a short film with disadvantaged young people as actors Directors Akoka and Gueret drew inspiration from past work as children’s acting coaches; in an interview the team said they found the idea of a collaboration between disadvantaged youths and an experienced adult film crew to have potential as the interaction of the characters is engaging and reveals a great deal about both sides of the conversation What makes The Worst Ones unique is its technique of allowing art to comment on life and vice versa The film is structured to alternate scenes of ‘real life,’ the daily activities and the home life of the children themselves with scenes from the fictional film they appear in The characters’ rehearsals and performances are carefully designed to enhance or comment on their real lives in subtle but effective ways and other troubles the characters were shown to endure would be quietly referenced when the characters were rehearsing or acting as two teenage actors are preparing for a love scene while her fellow actor’s relentlessly cynical façade is slowly broken down by the acting exercises the director conducts leaving him in a state of unfamiliar vulnerability when a young boy being counselled for anger issues is to act in a scene involving a schoolyard fight His genuine struggles with anger and violence seem to seep through the boy’s performance this overlay of reality and performance runs continually through the film It is a composition that requires cinematic skill and a delicate touch The first stage in the actual making of The Worst Ones process replicates the plot as the two directors and their casting director launched an extensive open casting process The chosen direction of their search also paralleled the film’s storyline: the filmmakers explained “We massively casted in social and educational institutions where kids are in difficulty.” The filmmakers noted that this approach implied a certain responsibility as “these children more than any others must be cared for and protected,” and took pains to prepare the young actors thoroughly for each scene they appeared in and to be sensitive to their concerns or fears The dangers of unwittingly exploiting or mistreating child actors are touched on in The Worst Ones with great sensitivity The choice of actor Johan Heldenbergh as the film’s director makes this aspect of the film particularly effective His Gabriel is kindly and genuinely respectful of the children he directs and clearly regarded as the children’s superior he repeatedly crosses or blurs lines or places undue pressure on the young actors Akoka and Gueret spoke of the care they took portraying the ambivalence involved in this kind of relationship and exploring the complex ethics of artistic expression in which human subjects are involved The film is not only an objective story about young people and their lives, on and off camera. It is also an affectionate visual celebration of childhood and youth. Careful camera work forces the audience to see the beauty in the children’s faces Akoka and Gueret speak fondly of the young actors and speak of their efforts to “place spectators in our shoes,” making the audience see what was special about the children is why they began the film with casting interviews in which the children speak directly to the camera “All have fascinating faces and gazes,” the directors commented “and it was our job to enhance this….” Making the audience intimately familiar with the young cast members humanises them and makes them relatable which carries the viewer through the children’s shabby life and sometimes objectionable attitudes or behaviour The fully formed characters and the empathetic view of their lives sustain interest throughout the film but the plot is also entertaining on its own The story comes together in a perfect final scene and their sometimes disguised innocence in a poignant but joyful shared moment that brings the entire story together Sarah Veltmayer’s ‘Never Forget’ throws you straight into the action as fourteen-year-old Jessie dreams about the perfect first kiss she giggles and talks her way through the possibilities before connecting with someone who could turn out to be her disastrous first kiss The colourful short looks really vibrant and it’s an interesting exploration of a young girl on the precipice of becoming a woman The lengthier ‘Chasse Royale’ by Lisa Akoka and Romane Gueret thrusts the viewer into the chaotic world of thirteen-year-old Angélique who lives with her passive mother and many siblings in the suburb of a French town Lacking in confidence and armed with an aggressive attitude she’s forced to look inwards when she auditions for a film at school and gets the part Realising it may be time to finally start growing up Angélique struggles with her new-found success and begins to wonder if she isn’t the person she’s been presenting to the world The highlight on the collection is Josza Anjembe’s ‘The Blu which is a touching exploration of identity Teenager Seyna longs to become a French citizen much to the dismay of her Cameroonian father We follow Seyna as she excels at school and wants to be part of the French society she lives in but she hits obstacles every step of the way including one to do with the size of her hair in relationship to an official photo she needs for her citizenship application Anjembe really digs into the way Seyna feels about her situation and the conflicts she has inside Marti Weerheijm’s ‘When Grey is a Colour’ sees Cato trying to reconnect with her troubled brother who arrives home in a state of depression Cato tries to reach out to her brother and chooses the path of persistence rather than giving up on someone who so clearly appears to have given up on himself It’s a meditation on the strong bond that siblings can have and the importance of having a relationship with your family The final short on the collection is Amel Guellaty’s stirring ‘Black Mamba’ which completely subverts what people think about Tunisian women on the verge of marriage and keeping her mother happy she participates in boxing away from the eyes of her family and she finds a release in the ring that keeps pulling her back for more Sarra’s story is one of expectation versus desire and it’s one that all of us can relate to ‘Girls Feels: Skin Deep’ is the strongest of the three collections by far I was a little disappointed with ‘Girls Feels: Skin Deep’ but this release gets things back on track There is more depth to the shorts here and they tell stories that are not only important but also deeply engaging Fingers crossed there will be more instalments to come in the future Cast: Nola Kemper, Richelle Platinga, Angélique Gernez, Eddhy Dupont, Grace Seri Directors: Sarah Veltmayer, Lise Akoka, Romane Gueret, Josza Anjembe, Marit Weerheijm, Amel Guellaty Certificate: 18 Duration: 108 mins Released by: NQV Media Release date: 22nd July 2022 Buy ‘Girls Feels: Skin Deep’ now [rwp-reviewer-rating-stars id=”0″] Choose which of our mailing lists you want to subscribe to You have successfully subscribed to our newsletter Choose which of our mailing lists you'd like to subscribe to © 2024 Entertainment Focus | Terms & Conditions | Privacy Policy you agree to the use of cookies in order to offer you content and services that are tailored to your interests Represented byUbba AgentFanny Minvielle Sommaire de la ficheShareFacebookMailFavoriteFermerContents Artistic agencyThis content is for registered users only.Are you a member you can discover 12 feature films and 12 short films for free and worldwide on MyFrenchFilmFestival.com The shorts will also be broadcast on UniFrance's YouTube channel (@unifrance) MyFrenchFilmFestival's Facebook page (@myfrenchfilmfestival) and MyFrenchFilmFestival's Instagram account (@myfrenchfilmfestival) #MyFFF | #CannesSpecialEdition � » Facebook: https://bit.ly/MyFFF-Facebook » Instagram: https://bit.ly/MyFFF-Instragram » TikTok: https://bit.ly/MyFFF-TikTok » Twitter: https://bit.ly/MyFFF-Twitter Award to the Best Filmmaker : Chasse royale  as well as representatives based in the U.S The organisation currently brings together more than 1,000 French cinema and TV content professionals (producers etc.) working together to promote French films and TV programmes among foreign audiences The annual Kinemastik International Short Film Festival is being held over two days in an open-air venue overlooking the Valletta harbour this weekend Kinemastik collaborates with international festivals and filmmakers to bring to Malta a selection of films and directors The  festival is now in its 13th year The cultural NGO based on Malta is responsible for a year-round programme of film screenings It links young film-makers to the world of cinema and provides them with a platform for their work through local screenings as well as through worldwide distribution of locally produced works The film festival is being held today and tomorrow at 9pm at the Garden of Rest The Velts – Sven Bonnici Toxicity – Angelique Muller Green Screen Gringo – Douwe Dijkstra Hot Beach Babe Aims to Please – Jillian Meyer The Disco Shines – Chema García Ibarra Chasse Royale – Lise Akoka Romane Gueret Lejliet – Matthew James Ellul Jacked – Rene Pannevis Rakijada – Nikola Ilic Street of Death – Karam Ghossein Bark Bark Disco – Ian Schranz Balloonfest – Nathan Truesdell Prickly Pear – Alex Camilleri Greetings from Aleppo – Issa Touma Thomas The Fall of Lenin – Svitlana Shymko Long Live the Emperor – Aude Lea Rapin The Sharpener – James Casey Les Miserables – Ladj Li Hyper Reality – Keiichi Matsuda A Drowning Man – Mahdi Fleifel The Committee – Gunhild Enger and Jenni Toivoniemi please register for free or log in to your account.